I think it was Susan's choice to be a scriptwriter. Something about it allowing her to live in Atlanta and not New York?

Page and Dansby seem to be the only two scriptwriters who bother to remember the character's history. IMO. Somehow it seems to me the actors connect better emotionally with their scripts, for whatever reason.

I guess opinions differ. For me, whenever Bob, Kim, Barbara, or Tom and Margo have a good scene, it usually turns out to have been written by Judith Donato or Richard Culliton. I associate Dansby more with fake-sounding flirtation like when Simon and Carly first got to New York, although she does seem to know some of the more recent (past few years) history better than some of the other writers.

"Emotional connection" is really hard to judge, but for instance, the script for Hal's memorial was written by Donato, and then the day after, (Oct. 24th) when Margo and Jack commiserated, and Adam came back and clicked right away with family, that was Culliton, who also wrote the script for Oct. 26th when Adam clicked with Kim. Kim's talk to Will about needing to act differently instead of just talking about it, before he went up to Raven Lake, was Culliton. As posted above in the episodes submitted for the WGA nomination, Holden telling Emma with Meg there about Luke being gay, and Emma's reaction from her point of view, was Culliton. Barbara's talk to Will about losing Johnny this past Friday was Donato. A few weeks ago, Tom and Margo at Java looking at the check from Craig, kissing, and Casey walking in there, then talking to Casey about work and money, then telling each other they did a good job with their son, was Culliton.

Maybe you can refresh my memory with the Page and Dansby scripts you're thinking of?

Anyway, I think we're at least agreed that the scriptwriting is not that big an issue with ATWT -- that the headwriting and overall story direction and balance, need a change most of all.

Edited December 18, 200618 yr by jfung79

Well, the head writer is supposed to furnish long story documents every few months to the network. But, usually things turn out quite differently from the way they were written in those docs.

The head writing team, which includes the head writer, associate head writers and executive producer, meets three times a week (or more, it depends on many factors) and then they discuss the finer details — how will it play out, is it better to do this or that and so on. Then they email the breakdowns to scriptwriters, who turn it into what we see on screen. Usually when the script is written, the head writer checks it for continuity or tone. But I think that it’s Courtney Sherman’s assignment on As the World Turns.

When Hogan was HW, part of his HW team ’consisted’ of

Carolyn Culliton

Stephen Demorest

Hal Corley

Susan Dansby.

Thanks Sylph, it is much appreciated

AMC's dialogue is awful. "I don't need DNA, I have K-A-N-E"!?

I love that line! I love the way La Lucci delivered it. Classic!!!!!

I just find that Page and Dansby dig into the character's emotions more. I used to keep track of the daily scriptwriters, I no longer do. Dansby in particular wrote the Jack and Carly breakup scenes in March, which should earn both Park and West emmy nominations. I'm not that impressed with the show in general lately, so I don't remember anything with Tom/Margo/Casey. And actually, I didn't think the writing of Hal's memorial episode was that outstanding, it was more about the individual performances for me.

Other than Lynn Martin (who's been gone for a while) who was atrocious, the writers have been pretty decent. I didn't like Josh Griffith either, who seemed to write all of Paul's yelling scenes.

I'll agree, in any event, that scriptwriting is not a problem. The dialogue is a notch above the other CBS soaps, and miles above the small sampling of ABC's I've seen. The problems of balance and overall direction need to be addressed---desperately.

OMG...how awesome is the "save post" thing I just got when my post wouldn't go through? A-May-Zing!!

AMC's dialogue is awful. "I don't need DNA, I have K-A-N-E"!?

I love that line! I love the way La Lucci delivered it. Classic!!!!!

That, I think, is what saved it. Susan's delivery alone. End of story.

Thanks Sylph, it is much appreciated

Check The Directors and Writers Thread, 2006 for the latest info on writing process.

I think it’s criminal to nominate All My Children and Guiding Light and not to nominate The Bold and the Beautiful and General Hospital.

Yes, we must not forget about Bradley Bell. All together now: THE BEDS IN L.A. MUST ALWAYS BE KEPT WARM! No way in hell does B&B's contrived, recycled, disgusting writing deserve to be nominated by any guild/association. The only shows that at least tried to have stellar writing in 06 was Y&R, GH & ATWT (Jan.-July)

Yes, we must not forget about Bradley Bell. All together now: THE BEDS IN L.A. MUST ALWAYS BE KEPT WARM! No way in hell does B&B's contrived, recycled, disgusting writing deserve to be nominated by any guild/association. The only shows that at least tried to have stellar writing in 06 was Y&R, GH & ATWT (Jan.-July)

He can write some great stuff. I'm sorry you don't appreciate it. The triangle is what's killing him in fans' eyes.

GH had the WGA nod all wrapped up, but they were robbed! Y&R has the award locked up. It'll be a travesty if they too were robbed!

To ensure a WGA nod & a very good chance of a win in 08, GH should have a writing team that has at least 12 of the following people with along with new HW:

GH written by Michael Conforti, Garin Wolf, David Goldschmid, Sally Sussman Morina, Chip Hayes, Robert Guza Jr., Garin Wolf, Susan Wald, Elizabeth Korte, Michele Val Jean, Mary Sue Price, Tracey Thomson, Karen Harris, Shelley Moore, Meg Bennett, Michael J. Cinquemani, Marc Hertz, Matthew Labine, Thom Racina, Ethan Canin & Eleanor Labine. The show already has 3 of the best scriptwriters currently in daytime, so why not have more?

Feb 04, RG Jr.: "Soaps are really a first-draft medium." In a sense, you are working so much on adrenaline all the time...There isn't time for second-guessing. There isn't time for going back..." That's why a larger writing team will most likely allow GH to deliever better material. In the end, small writing teams will face bigger challenges than larger teams b/c when the quality declines, they have to rely on less people to expand on a vision. Look at what went on at Y&R earlier this decade: More writers had to be added (Bibel, Hertz, Schreiber etc) b/c of a drop in quality. That's the biggest grip I have with the late William J. Bell: He also oversaw small teams & I strongly disliked that. Of course, he is not to blame for any of the writing problems Y&R & B&B have had/continue to have since he departed both shows.

Serial Writing Process

Head Writers conceive the long-term story of a series, and write the thrusts, outlining their tale approximately a week at a time, along with their Associate Head Writers and the show's producers. Sometimes, there may be a story document for one particular plot, summarizing all of the major beats, but this isn't required for all stories.

The head writer, associate head writers, and the breakdown writers then divide the week's thrust into five episodes by meeting three times a week. The breakdown writers outline an episode, breaking it down into acts and scenes, with a summary of the action. Sometimes a head writer or associate head writer may choose to write a breakdown. Then the script writers take the breakdown outlines and write dialogue for each scene.

The head writer or story/script editors, like Elizabeth Korte, proof-read each completed breakdown outline & script and check for continuity errors. From time to time, a script/story editor can also write breakdown outlines and scripts on their respective shows like Korte does on GH. A breakdown outline or script is not considered completed until the head writer gives final approval.